Category Archives: Popular culture

One of the cutest Christmas messages in the Hocken Collections is found on a postcard in the papers of Dunedin poet and editor Charles Brasch.

The front of the postcard shows the picturesque St John’s Anglican Church, Waikouaiti. The message on the reverse reads:

Mr Father Christmas
D.I.C.
Dunedin.

Dec 3rd

Dear Farther Christmas.
please will you give me these things
the “Suns Babys” and a doll.
love from Lesley Brasch
adress is 99 London St.
Dunedin

Lesley Brasch, known in her family as ‘Lel’, was Charles’s younger sister. Their father was the lawyer Hyam Brasch, and their mother Helene (née Fels) was related to the Hallensteins, a prominent Jewish family associated with the New Zealand Clothing Company and other businesses.

Born in 1911, Lel lived with her parents and brother at ‘Bankton’. Originally the home of Rev. Thomas Burns, and later of Sir Robert Stout, its address was 99 London Street when the postcard was used. The property was later subdivided and other houses have since been built in front of it. Its address is now 4 Stoutgate.

Lesley with her brother Charles at ‘Manono’, London Street, the property of their grandparents, Willi and Sara Fels. Bankton was a little further up the street, on the opposite side. E.A. Phillips photographer. Ref: Hocken Collections MS-0996-012/100.

We don’t know what year Lel wrote her request, but it was when she was a little girl in the 1910s. She addressed it to Father Christmas at the D.I.C., or to give it its complete mouthful of a name, the Drapery and General Importing Company of New Zealand Limited. Her own great-grandfather, Bendix Hallenstein, established the business some thirty years or so before.

The Dunedin department store was a logical place to send a message to the jolly red-suited man. From 1902 children could visit him every afternoon before Christmas, and in the 1910s the company advertised: ‘Father Christmas is at Home at the D.I.C.’. In 1917, the store advertised ’20 big busy departments full of Xmas gifts’, and a Toyland for Children. It invited parents to bring their children to see Father Christmas in his quaint old chimney corner. Admission was sixpence and children were given a present. Seventy years later children still visited the D.I.C. to see Santa. Its later attractions included Pixie Town, now on display at Toitū Otago Settlers Museum. The D.I.C.’s Dunedin store closed in 1991, after the company was taken over by Arthur Barnett.

Advertisement from the Otago Daily Times, 15 December 1917 p.2. Papers Past, National Library of New Zealand: https://goo.gl/nCBBvo.

Lel asked Father Christmas for a popular and particularly beautiful children’s book, The Sun’s Babies by Edith Howes. Even at a young age the Braschs were supporting New Zealand writers! Born in London in 1872, Howes came to New Zealand with her family when still an infant, and became known as a teacher, writer, and educationalist. She lived in a variety of places around the country, including Ashburton, Wanganui, Makarewa, Gore, Wellington, and Christchurch. In later life she lived in Dunedin, where she died in 1954.

The Sun’s Babies, published in 1910, is set in a mythical fairy world. It includes stories and poems about plants, animals and fairies in the different seasons of the year, incorporating life lessons. The first of Howes’s children’s books, it met with both critical acclaim and popular success. Hocken holds three editions of the book, including Cassell & Co’s original 1910 edition and the 1913 edition shown here. The illustrations are by the English artist Frank Watkins (1863-1929).

Illustration by Frank Watkins from The Sun’s Babies. The caption reads: ‘When she saw Tinyboy she hid her face shyly in her curls’.

Did Lesley get her book and doll? We don’t know but like to think so. Perhaps the answer awaits discovery in the Brasch papers,

There are thousands of postcards in the papers and they are less studied than many other parts of the collection. This particular card can be found in the item: ‘Envelope labelled “Loose postcards” including postcards from family and de Beer, Fels, Hallenstein and Brasch families’ (Charles Brasch papers, Hocken Archives, Uare Taoka o Hākena, MS-0996-012/521).

Post researched and written by Amanda Mills, Curator Music and Audiovisual Collections

The Verlaines have been a keystone band in the Dunedin music scene since their inception in 1980, and fully-fledged beginnings in 1981, when they were found regularly playing gigs in Dunedin’s Empire Tavern’s third floor concert venue. The band has undergone a number of lineup changes over nearly four decades, but the members pivot around songwriter and vocalist/guitarist Dr Graeme Downes, who has been the constant band member since the beginning. The first 15 years of The Verlaines in particular was a productive time for the band, when their sound was developing, and they released some of their most well-known recordings: the songs Death and the Maiden, Crisis after Crisis, and Pyromaniac and albums ‘Hallelujah all the way home’, ‘Bird Dog’, ‘Some Disenchanted Evening’, and ‘Ready to Fly’.

This particularly fertile time is documented in a collection of 33 performances on cassette tapes that Graeme Downes has deposited with Hocken’s music collections. The performances date back to 1981 with a cassette titled ‘Live at Duke Street’ and continue throughout the 1980s, capturing the band in the first decade of their career in exotic locales such as CBGB’s Nightclub in New York, and (arguably) less glamorous settings like Wagga Wagga in New South Wales. This collection of performances documents the band as they develop as performers, and Downes, as he develops as a vocalist and songwriter, imbuing his songs with increasingly sophisticated and complex structures and ‘musical tricks’ – no doubt reflecting his own study in classical music at the University of Otago. The live performances also capture the changing line-ups of The Verlaines, whose sound modifies slightly with each iteration of the band. The earliest cassettes document the initial line-ups (possibly with Downes, Anita Pillai on keys, Craig Easton on guitars and vocals, Philip Higham on bass, and either Paul Baird, Tim James, or Greg Cairns on drums). The band give it their all, and finding their way around Downes’ material which includes later Verlaines classics such as Slow Sad Love Song (the first song Downes ever wrote in 1980 as a response to a friend’s passing), and a faithful cover of Velvet Underground’s Femme Fatale – one of the interesting oddities on the 1981 ‘Rehersals’ tape. By 1985-7, the line-up is one of the most well-known (Downes, Jane Dodd on bass, and Robbie Yeats on drums), and they have just released ‘Hallelujah all the way home’, and ‘Bird Dog’ to excellent press. They are hitting their stride in the live setting, and it shows.

The Verlaines, It was Raining. Live at The Playroom, Christchurch, May 1987.

There are many highlights in this collection. One favourite performance is the band’s spirited take of Pyromaniac at Reckless Records in Chicago (date not recorded, but likely in the early 1990s). There is a punkish spontaneity to this entire show, and Downes’ vocals are spot-on, as is the band’s performance.) Another is possibly the only recorded instance of Graeme Downes performing with Straitjacket Fits, singing She Speeds at Chippendale House in July 1987 (Shayne Carter returns the favour by performing The Verlaines’ You Cheat Yourself of Everything that Moves) before the Verlaines set for the evening. This is a particularly emotive performance, as it was Downes’ wedding reception! Yet another highlight is a Christmas 1990 show at the Savoy in Dunedin, where the show ends with a dynamic version of Lying in State, which was a popular show closer for the band. By this time the line-up had changed again: Jane Dodd and Robbie Yeats had departed, with replacements Steve Cournane (drums), and Mike Stoodley (bass) taking over their roles in the band – bringing a slightly different feel to the music. The collection stops around 1993, at a point when The Verlaines (now Downes, Darren Steadman on drums, Paul Winders on guitar and backing vocals, and Mike Stoodley on bass) are no longer with Flying Nun, but have signed to Slash Records, an LA-based independent record label. One of the later recordings of the band is an interview with KALX Radio in Berkeley (part of the University of California), where they discuss their (then) new album, ‘Way out Where’, and the band’s history so far. The interviewer discusses Downes’ songwriting, and compares his writing style to Cole Porter or George Gershwin, while stating that The Verlaines ‘play like a punk band most of the time,’ a statement that still applies to the band today.

The physical cassettes are still in good condition for items of between 30 and 40 years old, although the materials are ageing. They are kept in a temperature-controlled vault at Hocken Collections to mitigate any potential issues with magnetic formats (such as sticky shed syndrome). All of these recordings have been digitised to WAV files for access, as the age and fragility of the cassette tapes means further playback could damage them. For any access to this content, please contact the Music and Audiovisual Curator at Hocken Collections for further information.

Two weeks ago we were kindly donated “The Home Circle: an Instructive & Entertaining Magazine for the Family & Fireside”. This was the first time any of the Publications Collections Assistants had seen this particular periodical before, so it was a very special discovery.

The Home Circle was published fortnightly in Oamaru and distributed throughout the Oamaru district. The first issue was published on January 1st 1898 and included an introduction explaining that the purpose of The Home Circle was to “help foster the home life” of it’s readers as they are “convinced that the home is the seat of national strength and vitality”. The Home Circle contains “articles on Social Questions, a Column for the Ladies, a Children’s Page, “Quaint Talks” by John Blunt, Short Stories (original and selected), Records of Local Doing, Notes and Comments on matters of passing interest”. The magazine was distributed gratis for the first three months it was published in the hope that readers would be interested enough to subscribe to it at the end of March. The publication must have continued, as we hold v.1:no.1 (1898:January 1) to v.2:no.8 (1899:April 27).

The “Ladies’ Column” features such topics as; personal appearance: “the untidy member of the family who utterly disregards her personal appearance is a great trial to her friends” (v.1:no.1 1898 January 1, page 8), how to keep children away from home: “when the children run in from outdoor play on little errands of their own, don’t fail to seize on any possible excuse for detaining them in the house” (v.1:no.20 1898 November 3, page 236), unattractive homes: “One often sees a man coming home tired and depressed from his day’s work, hoping to find a little comfort and cheering at home… When he is greeted instead with a dirty house and a cold hearth, or when a sudden fit of tidiness had prompted his wife to begin to scrub out rooms late in the afternoon, then he may feel strongly tempted to put on his hat again and take the shortest cut to the public-house” (v.2:no.6 1899 March 30, page 68) and what men like in women: “they like women whose lives and faces are always full of the sunshine of a contented mind and a cheerful disposition” (v.2:no.3 1899 February 9, page 32).

V.1:no.20 (1898:November 3) page 236

“Quaint talks by John Blunt” is another regular column with the subtitle: “A plain blunt man, I only speak right on; I tell you that which you yourselves do know”. John Blunt is a “straight forward sort of chap” who “calls a spade a spade”. Some of his musings include: “I would not give a fig for a man who is not punctual to his engagements, and who never makes up his mind to a certain course till the opportunity is lost. Those who hang back, hesitate, and tremble, – who never are on hand for a journey, a trade, a sweetheart, or anything else are poor sloths” (v.1:no.7 1898 April 28, page 79).

The “Bits of Humour” section on the back page includes jokes very reminiscent of the jokes contained in Christmas crackers, and just like on Christmas day, you can easily picture a family reading them out at the dinner table. One part of the humour column which caught my eye is called “An Interesting Love-Letter”, see attached image:

If you are interested in looking at the Home Circle or any of our other fascinating publications, archives or pictorial collections come along to the Hocken Collections! We are open from 10am to 5pm Monday to Saturday.

Post written by Amanda Mills, Hocken Liaison Librarian, Curator Music and AV

September is the month of the APRA (Australasian Performing Rights Association) Silver Scroll Awards, an event celebrating New Zealand songwriters and composers. A number of awards are presented during this ceremony: the prestigious Silver Scroll award, recognising “outstanding achievement in the craft of songwriting,” the SOUNZ contemporary award recognising “creativity and inspiration in composition by a New Zealander,” and the APRA Maioha Award which “celebrates excellence in popular Māori composition, to inspire Māori composers to explore and express their culture and to increase awareness of waiata in te reo Māori throughout Aotearoa.” Also presented are the APRA Screen Music Awards – the APRA Best Original Music in a Feature Film and APRA Best Original Music in a Series Award, both of which celebrate New Zealand’s screen composers.

In 2017, the APRA Silver Scroll Awards are being held in Dunedin on September 28th – a first for the city – and it is shaping up to be a Dunedin-centric awards ceremony. According to the APRA website, Dunedin has more songwriters per capita than anywhere else in New Zealand, and this year Port-Chalmers based singer-songwriter Nadia Reid, is nominated for her song ‘Richard’. As the Silver Scroll Award itself is to celebrate songwriting, the nominated songs are performed not by their writers and composers, but by other musicians in a different style to illustrate how a song stands on its own merits, regardless of genre. A musical curator selects the artists to perform the tracks, and for the 2017 Awards, Dunedin’s own Shayne Carter (DoubleHappys, Straitjacket Fits, Dimmer) will be undertaking this role. Another link between the awards and our Southern city are the 2017 inductees to the NZ Hall of Fame: The Clean (including founding member Peter Gutteridge), whose contribution to local music history can never be understated.

Hocken’s own music collections have a connection to the Silver Scroll Awards – 190 45rpm discs of Silver Scroll nominated (and winning) songs from between 1965 and 1976 were donated in 1977. These songs represent the eclectic nature of songwriting from the time, with tracks from Blerta, The Maori Volcanics, John Hanlon, Steve Allen, Rockinghorse, Shona Laing, Ray Columbus, The Fourmyula, and Maria Dallas included in the nominations, along with Jay Epae, Lutha, The Moving Folk, (the wonderfully named) The Village Gossip and Garner Wayne and his Saddle Pals. Accompanying lists of the nominated songs (also provided from APRA) give an indication of how many songs were nominated each year, and are a great resource for researchers looking at New Zealand popular music of the mid twentieth century. Our wider music collections also include Silver Scroll nominated material from this period and later on 45rpm disc, CD and cassette, including Lea Maalfrid’s 1977 winning song ‘Lavender Mountain’ – the first Silver Scroll Award ever presented to a female songwriter. However, the core APRA collection brings together these nominated songs as a group to represent a time capsule of material nominated for the Silver Scroll.

The song digitised here is by The Blue Stars (later The Bluestars), an Auckland group that began in the early 1960s during the band members’ time at Auckland Grammar. In 1966, they released ‘Please Be A Little Kind’ b/w ‘I Can Take It,’ a record that charted at no. 12, and gained radio airplay. The Blue Stars disbanded the following year, but ‘Please Be A Little Kind’ has kept the band firmly in New Zealand music history due to the song’s nomination for a Silver Scroll.

Below is the 1965 list of Silver Scroll nominees, which features some familiar names like Garner Wayne, Peter Posa, and Ray Colombus – names that reappear frequently in the nomination lists, and in the music charts.

Are you a machine knitter, cat fancier, Ruritanian folk dancer, Chrysler restorer, lace maker, ship wreck welfare specialist or antique bottle collector? If so, then you will be interested in some of the approximately 3145 club and society periodicals located in the Hocken Journals collection. We hold many different types of publications produced by clubs and societies including; meeting minutes, newsletters, rule books, annual reports and accounts. These periodicals come from all over New Zealand, the Pacific and Antarctica and cover a broad range of topics.

Similar to the zines in our journals collection, some of these periodicals are handwritten or were typed using a typewriter and many of the illustrations within them were created by club or society members. They can vary in size and are often missing date information which means that our Collection Assistants sometimes have to read through the entirety of the periodical to try and determine the date of each issue.

The content of the newsletters can provide the reader with a wealth of information about club issues and what activities the club is involved in, for example; in Tabletalk (the Otago Bridge Club newsletter) for 1979 May 10, the editor reminds the bridge players to stop post-morteming their game when moving to a new table and to acknowledge other bridge players as there has been an “epidemic of rudeness” in the club recently, and tucked away within the Joint Newsletter for the Central Otago Farm Forestry and Tree Crops Association there is a multi choice form that was used when a member found a good hazelnut or walnut tree. Upon discovery of the tree they were to provide the branch registrar with a 2kg sample of nuts and indicate on the form what percentage of nuts fall free of husks, how many kilograms of nuts the tree produces annually and what evidence of lemon stem borer, bug mites or mineral deficiency they had found on the tree. The nuts were also observed by the registrar, with the registrar recording their observations of the nut’s shell colour, blemishes, shape, size, thickness and kernal details on the other side of the form.

These club and society periodicals were often used to further educate members about their topic of interest, this is evident in the herb society newsletters which contain recipes using the herb of choice for that newsletter as well as informative articles about the chosen herb. Issue 154 (2009:Autumn) of “The Bay Tree” (the Kapiti Herb Society Newsletter) focuses on Lemon Verbena with tips on cultivation and recipes for Lemon Verbena liqueur and syrup which the newsletter states can be used with ice cream, pound cake or other light desserts. We have a strong collection of herb society newsletters, which includes the following titles: Thyme Out (Upper Clutha), Bouquet of Herbs (Auckland), The Sage (Waihi), Chamomile (Wairarapa), Herbs a Plenty (Tauranga) and Simple Pleasures (Otago).

Running a club or society is a labour of love as it is often time consuming and costly. For this reason, we are receiving less and less club and society publications. We are also contacted regularly by groups who have decided to produce their publications in an electronic format instead of print due to the cost of producing and distributing their publications to members.

This collection demonstrates that for any hobby or interest you may have, no matter how specialised, you will be able to find other like minded individuals that are just as passionate as you are. If you are involved in a club or society, please think of the Hocken Collections as a place to donate your publications to as we would love to continue adding material to this incredible collection.

To celebrate Music Month in 2017, here’s a brief look at a collection of papers relating to a local Dunedin label.

Post by Amanda Mills, Hocken Liaison Librarian, Curator Music and AV

Various Xpressway tapes. Hocken Music and AV collections

Xpressway Records began life as a cassette-only label in late 1987/early 1988, run out of Bruce Russell‘s home in Port Chalmers. Russell – archivist, writer, musician (in A Handful of Dust, and The Dead C) – began Xpressway Records with help from fellow musicians Peter Gutteridge, Alastair Galbraith and Peter Jefferies following Flying Nun’s 50% acquired by Mushroom Records. Russell worked for Flying Nun in their Christchurch offices for a time in the 1980s, and saw the label was moving away from its original ideals with the merger. The acquisition by a major label meant attention was focused on more commercial Flying Nun acts, and many were let go from the label.

Russell was disillusioned by these decisions, and when artists like Jefferies and Galbraith were released from their Flying Nun contracts, he decided to in his words “show [Flying Nun] a thing or two,” as their music was just as valuable as the label’s more commercial counterparts. To give these artists and their music a home, he began Xpressway Records. In Russell’s opinion, “we should make the music available to those people that want to hear it, and if those people are a scattering of people all over the world in tiny niches within other national markets … fine… it’s just what we’ve got to do” (Russell, 2000).

Various official Xpressway releases. Hocken Music and AV collections

Xpressway started as a cassette-only record label, but expanded to include vinyl and CD releases. Overall, there were over 20 Xpressway releases, with other recordings licensed from the label. Artists on the label included

Peter Jefferies

Sferic Experiment

The Terminals

Alastair Galbraith

Victor Dimisich Band

Wreck Small Speakers on Expensive Stereos

Peter Gutteridge

As well as these artists with material licensed from Xpressway to other labels

DoubleHappys

Sandra Bell

Mock-up of the back cover of the Terminals’ single Do the Void. Xpressway: Records of a Dunedin independent record label (1988-1993). Hocken Archives, 94-156

In 1993, Russell wrapped up the label, and, in 1994, gave Hocken the Xpressway archives. Russell also included other items in the donation: over 100 posters of local artists, and over 50 cassettes of live recordings of acts associated (mostly) with Flying Nun or Xpressway.

Correspondence between Russell and musicians reveals the frustrations, irritants, and (in some cases) jealousies between different parties. While this is in the guise of official correspondence between artist and the label, it is often personal in nature reflecting the close knit nature of the Xpressway music community. It is also interesting to note that hand-written, typed, or faxed messages are on any blank surface: the backs of photographs, envelopes, flyers, aerograms (remember those?), newsletters from Russell’s’ place of employment – it is all used.

Much interesting material is contained in the folder relating to Flying Nun, with business correspondence again revealing the frustrations and everyday realities of supply and distribution between labels, especially those relating to finances. The letters and faxes between Russell and Flying Nun staff running the label day-to-day in Auckland are friendly and informal; they relate personal and industry stories and reveal common frustrations with business, distribution, and (quite often), the musicians. Other folders also contain interesting – and often hilarious – exchanges between the label and correspondent.

Along with the papers are the posters and cassettes that Russell donated. The posters relate to gigs and album releases, and highlight local bands and artists (many on or associated with Xpressway), and many are hard to find. The tapes capture mostly live performances and some radio shows by local artists, but also artists from around New Zealand, in many different venues around the country. Some are recording sessions, or demos of material that may not have been released, and we are aware that these are possibly the master tapes for a number of recordings.

Various Xpressway tapes. Hocken Music and AV collections

Complementing the Xpressway papers, the Hocken also holds copies of officially released music from Xpressway:

Compilations Xpressway Pileup,Killing Capitalism with Kindness, and Making Loser’s Happy

The Xpressway papers and recordings are used by students and other researchers, with material frequently published on the artists, the label, and the wider scene. The popularity of the label, and the music that emerged from it will only increase the intrinsic value of this collection. The Xpressway papers (and associated recordings) are a fascinating look at how an independent record label is run in a small music community, where artists often performed in each other’s bands, or on each other’s recordings.

Tucked away within our publications collection are approximately 149 zines spanning from the 1970s to the present day. For those of you who haven’t come across a zine before, zines are self published publications that are on a variety of different topics. Many of the zines in our collection were created by cutting and pasting text, images, photographs and drawings and sticking them on master sheets which are then photocopied and put together as a zine. Creating a zine is a labour of love as they take a substantial amount of time and effort to produce and the funds involved in the making of a zine are seldom recuperated.

Caveat Emptor An Anarchist Fanzine issue 2 (1998) pages 5-6

Looking through the list of zines in our collection it is surprising to discover just how varied zines can be. The zines most people are familiar with are the punk rock and rock music zines. While we do have plenty of those, we also have zines on many other subjects including: feminism, government resistance, art, death, horror tales, poetry, science fiction poetry, erotic poetry, sexual harassment of women, anarchism, human rights, paper dolls, New Zealand literature, colonisation and politics just to name a few. Some zines cover multiple topics as they have many contributors.

PMt issue 2 ([1986]) cover

Zines can be difficult to catalogue as they are often missing title and date information. Zines also differ greatly in size and format, becoming an artwork in themselves. Fortunately we are able to call upon the services of the University of Otago Library Bindery who can create customised acid free enclosures for these items.

A zine a day as winter goes away covers of 2011 July 3, 7, 10 and 20

With May being New Zealand Music Month, it is worth bringing attention to an excellent zine in our collection called Ha Ha Ha: from the city that offers nothing. Ha Ha Ha is a Hamilton music zine that started in 1983, it isn’t focused entirely on Hamilton music, it includes information about bands from all over New Zealand. Issue no.5 features an interview with Bruce Russell from the Dunedin Expressway label called “Expressway to your skull” and includes reviews of Vehicle – The Clean, Sour – S.P.U.D. and Bunny liver – Sferic Experiment all of which we hold in our music collection. If you are a punk fan issue 4 might interest you with an article on New Zealand punk from 1977 – 1982 which includes a list of albums and singles worth listening to and a brief description of each band mentioned.

Ha Ha Ha issue no.5 cover

Another New Zealand zine of particular interest is : Incredibly Hot Sex with Hideous People by Bryce Galloway. Issue no.15, The Fear of Fatherhood Issue is an excellent read as Bryce recounts his experience of the ante-natal classes that he is attending with his “de-facto wife”. He prepares his readers for the change of tone: “If you’re a regular visitor to Incredibly Hot Sex with Hideous People, you will have noticed by now, the consolidation of an autobiographical style. So, babies. This is the big thing in my life at present, so I gotta go there, as unhip as that makes me”. His writing is honest and refreshing as he describes a class where the midwife is describing the birthing process: “Images less sterile than statistical data are crowding my head, I fold my arms, I cross my legs. I think about fainting and I’m not sure whether it is because I believe I’m prone, or because I truly am being overcome by these sideways images of birthing”.

Incredibly hot sex with hideous people no.15 (2003 Spring) cover

By being self published, zines provide us with uncensored and often quite personal insights into peoples experiences, events, and lifestyles. All of us have something that we are interested in and or are passionate about, but not all of us go to the effort of creating our own publication. We hope that zines continue to be created as they provide us with invaluable information about the history and culture of this country.

If you are interested in finding out more about New Zealand zines, it is well worth checking out an excellent blog called the New Zealand Zine Review: http://www.newzealandzinereview.org.nz/. Some of the zines featured in the blog are held in our collection if you would like to have a look at them in the flesh.

Do you create a zine yourself, or perhaps you have a zine you would like to donate? In which case we would love to hear from you as we are always interested in expanding our collection of zines. You can send us an email at serials.hocken@otago.ac.nz or phone us on 03 479 4372.

Post researched and written by Amanda Mills, Liaison Librarian – Music and Audio Visual

In Hocken’s 78rpm disc collection there is an anomaly: over 100 American pop standards by US artists. For a collection of New Zealand material, this is a significant exception to our collection development policy, and more than just an example of a popular genre. There is little to explain why these discs are in the music collection, but our records state they were donated by Mr Grant Fleury in the late 1990s, and were (according to staff recollection) part of an estate collection.

So, why would a collection of New Zealand material include these items? One potential reason for keeping these discs, is that they are all NZ pressings of international labels, including Columbia Records, Decca Records, His Masters Voice, and Capitol Records. However, there are between 50 and 100 of these recordings, so this collection is more than just an example of local label pressings. Some of the titles are jazz, pop, and rock’n’roll classics that shaped popular music in the 20th Century, coming at the end of the 78rpm era. Titles include:

Ella Fitzgerald: Happy Talk. A track from the very popular musical “South Pacific”, Ella Fitzgerald recorded the song with Gordon Jenkins and his orchestra in 1950, and this led to them recording an album soon after.

Fats Domino,Blueberry Hill

Fats Domino: Blueberry Hill and Ain’t That a Shame. Both are significant rock ‘n’ roll classics – Domino’s 1956 recording of Blueberry Hill became the standard version of the song, while his 1955 recording of Ain’t That a Shame gained US fame after being re-recorded by Pat Boone. However, Domino’s version became more popular.

Fats Domino, Ain’t That A Shame

Nat King Cole: Unforgettable b/w Mona Lisa. Unforgettable was recorded in 1951, with the Nelson Riddle Orchestra, and with Riddle’s arrangement. Cole remade it in 1956, and it was remade again in the 1990s as a beyond-the-grave duet with his daughter Natalie. It is backed with an equally popular song, Mona Lisa, which won the 1950 Academy Award for best original song from the film “Captain Carey.”

Nat King Cole, Mona Lisa

Having these recordings in the collection presents a conundrum – are they a one off exception to the collection development policy of collecting material by New Zealand artists? Or, was there a valid reason for adding international music into the 78rpm disc collection, when there was no apparent local link in terms of composer, or performer? They are an interesting addition to the collections of early popular music, and their influence is felt widely throughout local New Zealand music of the same time.

The Hocken’s periodicals collection is home to a range of fashion-related material. Perhaps one of the most glamorous titles we hold is Vogue New Zealand – our nation’s very own edition of the famous title published from 1957 to 1968. Though New Zealand’s Vogue was short-lived, the magazine is a valuable resource for today’s readers: the preserved copies represent an important decade in New Zealand’s fashion history.

Vogue New Zealand began as an offshoot for British Vogue. Edited from the U.K., the early issues spoke of patriotism for England: New Zealand readers were encouraged to sew with British materials, and New Zealand garments were flown out of the country to be photographed in ‘proper’ English settings. Early features were mostly international and, besides advertising, there was little to indicate that the publication was intended for an antipodean audience. One exception is found in the magazine’s fashion advice, where suggestions were made about where Vogue clothing could be worn in New Zealand. The following extract details appropriate places to sport “cotton sailcloth” items by Voyageur:

The magazine’s British accent did not silence its developing New Zealand voice however. By 1960, production of the magazine had moved from England to Australia with editor Sheila Scotter appointed to oversee Vogue New Zealand and Vogue Australia. These developments – including the coming of local editorial talent such as Michal McKay – saw the magazine’s distinctive New Zealand style begin to flourish. New Zealand photographers, fashionable New Zealand homes, elegant New Zealand women and, of course, New Zealand designers were brought to the fore. In true Kiwi style, country living and woollen garments became a heavy focus for the magazine.

Vogue New Zealand positioned our nation as one in-touch with global trends and capable of producing high fashion garments. New Zealand designers, like Bruce Papos, or El Jay, were celebrated by the publication, inspiring confidence in local design. The local industry also benefitted from the magazine’s showcasing of the latest in European fashion. For example, the repeated feature “What goes on in other Vogues” informed readers of the styles trending in global fashion centres such as Paris or Italy. In another feature, readers were encouraged to write to the magazine and request Vogue sewing patterns. Access to these designs was not exclusive; the professional and the non-professional alike had the means to create some of the most fashionable clothes of the era.

Trending fashions were not stagnant during the magazine’s run, of course. Fashion, as we know, is subject to change, and the magazine documents some of the era’s major changes in style. For example, looks from the late fifties vary greatly to those of the sixties. Scanning the issues today, we can see that a traditional and lady-like aesthetic prevails in the fifties; however a youthful and rebellious style emerges in the sixties. This step away from tradition is echoed in Vogue New Zealand’s “Breakaways” feature from 1966, which reads:

“Who are the Breakaways? They are the girls who bolted the pack: stepped out of the mould – then smashed it to smithereens. They are the Look of today, of this generation”.(1966:Spring, page 51).

Vogue New Zealand’s decade-long run was an important time in the history of New Zealand fashion. The magazine supported New Zealand’s developing fashion industry and connected Kiwi’s with the world of couture culture. Today, the preserved copies offer a fascinating record of this time and the changing fashions within it. Like many treasures at the Hocken, Vogue New Zealand offers us a glimpse into the past and tells us a story that is unique to New Zealand’s history. We encourage those who are interested by this magazine (or related material) to visit the library and view the items first-hand. Donations from the public are also welcomed; we are always looking for material that will enrich Dr. Hocken’s ever-growing collection.

Cooking hints complement the recipes and include being able to tell the difference between fungi and mushrooms (ed.1, p.6), how to make your jelly set quickly using methylated spirits and a draught (ed.1, p.22), how to improve your coffee with a pinch of mustard (ed.4, p.34), and how to sweeten rancid fat (ed.2, p.26) rather than throwing it away.

RS Black & Son advertisement (edition 5, p.73)

Other household hints make heavy use of vinegar, lemon juice, salt and methylated spirits. A recipe for homemade floor polish finds a use for broken gramophone records (ed.4, p.36). Eggshells thrown into the copper made clothes very white (ed.2, p.22) and rusty ovens were clearly an issue as the solution of leaving the oven door open after use was repeated in many editions (e.g. ed.12, p.28).

Health remedies include tips such as placing a scraped potato on scalds (ed.1, p.26), using sage tea for a sore throat (ed.1, p.28), smoking blue gum leaves several times a day for asthma (ed.1, p.30), and shaving warts until they bleed before applying lunar caustic (silver nitrate) (ed.1, p.30). Billiousness was treated by drinking salty water and “nerves” were improved by numerous glasses of cold water and getting out of bed earlier (and a better attitude is implied!) (all in ed.1). It was recommended invalids be protected from visitors (e.g. ed.1, p.26).

Beauty tips included “cures” for numerous complaints ranging from scurf (aka dandruff: cured with kerosene, ed.3, p.48), dry skin, and baldness, to freckles (ed.1, p.32). Much of this content was repeated without variation throughout editions.

United Cash Orders advertisement (back cover of 5th edition)

Etiquette for occasions such as visiting, dining out and weddings is described in great detail. The dense lists for these sections contain some conventions still familiar today such as not reaching across your neighbour at the dinner table or spitting out bits of bone onto your plate (ed.2, p.4-6). Declining a dish at a meal was acceptable, but offering a reason was not (ed.2, p.4-6). Carrying a stick into someone’s drawing room was within the realm of good manners, but wielding an umbrella or wearing an overcoat was considered impolite (ed.2, p.4-6).

Conversation brought a whole raft of dos and don’ts: the familiar rules against interrupting and whispering are listed along with the recommendation you don’t talk about yourself or your maladies, or afflictions (ed.2, p.4-6). It was advised when telling jokes to laugh afterwards, and not before! (ed.1, p.25).

Wolfenden & Russell (edition 5, p.11)

Fortune telling appears to have been popular with many editions containing hints on reading tea leaves (e.g. ed.2, p56), and large sections of many booklets were dedicated to interpreting dreams (e.g. ed.1, p.54-62). One booklet includes a section that explains mole position and your resulting fortune: for e.g. a mole on the nose means success in everything, but on the left knee indicates an indolent, thoughtless and indifferent person (ed.2, p.58).

Enquire within also offers tips for motorists, hints for fixing common radio problem, advice for gardeners, meanings of a select few given names, and guidance on the care of animals.

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